Indian music studied from a social and intercultural perspective

Ethnomusicology can be considered as the holistic and cultural study of music existing in various folk, tribal and other ethnic societies.

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Ethnomusicology can be considered as the holistic and cultural study of music existing in various folk, tribal and other ethnic societies. The discipline ethnomusicology deals with the study of music from a social and cultural perspective and aims to survey and analyze the music traditions of various cultures. Ethnomusicology also emphasizes the study of music of one’s own and other cultures which promotes the intercultural perspective of music. Initially, the Indo-British interrelationship paved the way for intercultural communication through musical works and set the foundation for ethno musicological study in India. Ethnomusicology emerged in India during the British period when western authors started to write about Indian music in English language mainly for western readerships. Intercultural aspects can be found in all styles of music because of the cultural changes in societies that are induced by the changing reigns of rulers in the different ages of a nation‟s history. […]

After the 1980s, concepts of anthropology and musicology merged and more emphasis was placed on the observation of the process of musical creation, as seen in improvisations and performances. The focus of the study has shifted towards making critical examinations, rather than collecting abstract information. […]

Source: “Emergence of Ethnomusicology As Traced in Indian Perspectives” by Bisakha Goswami (Assistant Professor in Musicology, Rabindra Bharati University)
URL: https://www.academia.edu/10205543/Eemergence_of_Ethnomusicology_As_Traced_in_Indian_Perspectives
Date Visited: 8 September 2023

Classical music is the most refined and sophisticated music to be found in the subcontinent of India. There are many other forms, however, which have a specific function in the society, and these are by no means devoid of artistic expression. The great diversity of music in India is a direct manifestation of the diversity and fragmentation of the population in terms of race, religion, language, and other aspects of culture. The process of acculturation, so accelerated in modern times, is still not a very significant factor in many areas of the country. There remain remote pockets where tribal societies continue to live much as they have done for centuries.

“Tribal, Folk and Devotional Music” by NA [Nazir Ali] Jairazbhoy in AL Basham (ed.). A Cultural History of India. London: Oxford University Press, 1975, pp. 234-237. 

There is a need for intercultural education. We all need to work together to bridge these divides not only between religions and castes [*] but also regions. It is not correct to think that one part is better than the other. Some of the limitations of India as a whole are due to our common heritage, say the one that has restricted women from having a flourishing life for themselves.

Source: Prof. V. Santhakumar (Azim Premji University) in “On the so called North-South Divide in India” | Read the full blogpost: Economics in Action (13 April 2024) >>

[*] Some clarifications on caste-related issues by reputed scholars

Understanding “caste” in the context of Indian democracy: The “Poona Pact of 1932”
“Mahatma Gandhi and BR Ambedkar differed over how to address caste inequities through the electoral system. Their exchanges led to the Poona Pact of 1932, which shaped the reservation system in India’s electoral politics. […]
Two prominent figures who have significantly contributed to this discourse are Mahatma Gandhi, Father of the Nation, and Bhimrao Ramji Ambedkar, Father of the Constitution. The two stalwarts of Indian politics, while revered equally by the public, had contrasting views on the caste system. Their subsequent debates have shaped the course of Indian society and politics. While Gandhi denounced untouchability, he did not condemn the varna system, a social hierarchy based on occupation, for most of his life. He believed in reforming the caste system through the abolition of untouchability and by giving equal status to each occupation. On the other hand, BR Ambedkar, a Dalit himself, argued that the caste system disorganised and ‘demoralised Hindu society, reducing it to a collection of castes’. […] 
And yet, despite their differences, they developed an understanding to work for the betterment of the marginalised.” – Rishabh Sharma in “How Ambedkar and Gandhi’s contrasting views paved way for caste reservation” (India Today, 6 October 2023)
URL: https://www.indiatoday.in/history-of-it/story/ambedkar-gandhi-caste-system-poona-pact-1932-reservation-2445208-2023-10-06

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“That upper caste groups should declare themselves to be OBCs [Other Backward Castes] and want to avail of the reservation policy is a pandering to caste politics of course, as also are caste vote-banks. It is partially a reflection of the insecurity that the neo-liberal market economy has created among the middle-class. Opportunities are limited, jobs are scarce and so far ‘development’ remains a slogan. There’s a lot that is being done to keep caste going in spite of saying that we are trying to erode caste. We are, of course, dodging the real issue. It’s true that there has been a great deal of exploitation of Dalit groups and OBC’s in past history; making amends or even just claiming that we are a democracy based on social justice demands far more than just reservations. The solution lies in changing the quality of life of half the Indian population by giving them their right to food, water, education, health care, employment, and social justice. This, no government so far has been willing to do, because it means a radical change in governance and its priorities.” – Romila Thapar  (Emeritus Professor of History, Jawaharlal Nehru University) interviewed by Nikhil Pandhi (Caravan Magazine, 7 October 2015)
URL: https://caravanmagazine.in/vantage/discipline-notion-particular-government-interview-romila-thapar 

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Casteism is the investment in keeping the hierarchy as it is in order to maintain your own ranking, advantage, privilege, or to elevate yourself above others or keep others beneath you …. For this reason, many people—including those we might see as good and kind people—could be casteist, meaning invested in keeping the hierarchy as it is or content to do nothing to change it, but not racist in the classical sense, not active and openly hateful of this or that group.” – Book review by Dilip Mandal for Caste: The Origins of Our Discontents (The Print, 23 August 2020)
URL: https://theprint.in/opinion/oprah-winfrey-wilkerson-caste-100-us-ceos-indians-wont-talk-about-it/487143/

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“The theoretical debate on caste among social scientists has receded into the background in recent years. [However] caste is in no sense disappearing: indeed, the present wave of neo-liberal policies in India, with privatisation of enterprises and education, has strengthened the importance of caste ties, as selection to posts and educational institutions is less based on merit through examinations, and increasingly on social contact as also on corruption. There is a tendency to assume that caste is as old as Indian civilization itself, but this assumption does not fit our historical knowledge. To be precise, however, we must distinguish between social stratification in general and caste as a specific form. […]
From the early modern period till today, then, caste has been an intrinsic feature of Indian society. It has been common to refer to this as the ‘caste system’. But it is debatable whether the term ‘system’ is appropriate here, unless we simply take for granted that any society is a ‘social system’. First, and this is quite clear when we look at the history of distinct castes, the ‘system’ and the place various groups occupy within it have been constantly changing. Second, no hierarchical order of castes has ever been universally accepted […] but what is certain is that there is no consensus on a single hierarchical order.” – Harald Tambs-Lyche (Professor Emeritus, Université de Picardie, Amiens) in “Caste: History and the Present” (Academia Letters, Article 1311, 2021), pp. 1-2
URL: https://www.academia.edu/49963457

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“There is a need for intercultural education. We all need to work together to bridge these divides not only between religions and castes but also regions. It is not correct to think that one part is better than the other. Some of the limitations of India as a whole are due to our common heritage, say the one that has restricted women from having a flourishing life for themselves.” – Prof. V. Santhakumar (Azim Premji University) in “On the so called North-South Divide in India” (personal blog post in Economics in Action, 13 April 2024)
URL: https://vsanthakumar.wordpress.com/2024/04/13/on-the-so-called-north-south-divide-in-india/

There is a continuing association of apsaras with heroes, as for instance in the hero-stones of later times, which show the hero being taken up to heaven by apsaras arter he has died in battle. There is also an association with heavenly musicians, the Gandharvas. In the epic version, the identity of Sakuntala as an apsara is reiterated by the small details which [unlike those found in Kalidasa’s portrayal] make her different from an ordinary woman.

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The apsara was a beautiful woman made for dalliance, the fantasy woman of the world of the heroes. In later times the apsaras fade when the goddesses become prominent. The apsaras are not, therefore, the same as women of the earth, they have their own order and their own codes of behaviour and authority. In a sense they are a counterweight to the insistence on the pativrata as the ideal woman – the life-long, devoted, self-effacing wife to her husband – and to that extent alleviate the dreariness of the didactic sections of the epic [Mahabharata] with their heavy male-dominated pronouncements.

There is a continuing association of apsaras with heroes, as for instance in the hero-stones of later times, which show the hero being taken up to heaven by apsaras after he has died in battle. There is also an association with heavenly musicians, the Gandharvas. In the epic version, the identity of Sakuntala as an apsara is reiterated by the small details which [unlike those found in Kalidasa’s portrayal] make her different from an ordinary woman.

Yet she is in the mould of the other epic heroines – Draupadi, Kunti, Gandhari – strong women who as mothers and wives dominate the story and whose individuality cannot be overlooked. Epic heroines are sometimes associated with the knowledge of a treasure which the hero seeks, or else they protect the treasure. In the narrative of Sakuntala the treasure may be symbolised by the son she brings to the hero, a son who was to be unique in the lineage of the Purus. The eulogies on Bharata in the later tradition, exalting him as the ancestor of a famous clan (even though his children died and he was succeeded by an adopted son); marking him out as a major figure in the lineage not only requires introduction through an unusual birth – namely, a three-year gestation with a mother who could be either an apsara or a forest dwelling woman – it also ensures that the story of Sakuntala remains in the consciousness of those who live in the land of Bharata.

Source: Romila Thapar in “The Narrative from the Mahabharata”, Sakuntala: Texts, Readings, Histories (New Delhi 1999), pp. 41-42

Article 52 of the Constitution says, “There shall be a President of India,” with no mention of Bharat. […] India is already called Bharatam in Tamil, Telugu, Kannada, and Malayalam.

Source: livemint.com (5 September 2023)

[Bold typeface added above for emphasis]

Tips: in the above search field, type a combination of names and subjects of special interest: to find more audio and video contents sung or played by a favourite musician or musical instrument; along with preferred raga or tala, on the occasion of a festival or lecture demonstration (e.g. Music Academy Madras), location (e.g. Narada Gana Sabha) or item (e.g. varnam, kriti, tillana) | How “Safe search” is used on this website >>

A music that connects amidst multiple crises: “Joyful subtle insights”

The most rewarding task for teachers and performers may well be to convey Tyagaraja’s last message to his disciples and the world, one that may liberate us by letting go of artificially separatist views of culture, creed and nature as well (given the multiple crises humankind is faced with on a daily basis):

Paramātma is brightly shining / may this dawn upon you / in all its beauty / Named as Vishnu, named as Shiva / Said to be in people / and heavenly beings / throughout the entire universe / That Supreme Being pervades like light! / Have a joyful subtle insight into that / in all its beauty.

Learn more (Introduction) >>

“Children should grow with joy, courage and freedom and a discipline born out of these attributes. The fundamental principle is joy, suggestion must be the method, the emphasis should be on the imaginative and creative experience of music and teaching should follow a “flow-form-flow” spiral.
VV Sadagopan was clearly in favour of lakshya (aesthetic perception) over lakshana (intellectual abstraction) at school, college or university.” – T.K. Venkatasubramanian in “VV Sadagopan – An educator with a mission”, Sruti Magazine >>

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Audio | Shobhillu Saptasvara: Abhyasa gana guided by Savithri Rajan

Savithri Rajan

This production is based on the book Shobhillu Saptasvara: svarāvali, gītam, prabandham, sūlādi | Find a library copy on Worldcat.org >>

Savithri Rajan provides a spoken “Introduction to Shobhillu Saptasvara” on the first track.

View or download two excerpts from the book: (1) a gitam in standard notation (raga Hamsadhvani) and (2) an excerpt on the historical context and current value of the didactic repertoire covered: Gitam_Explanations_Notation_Hamsadhvani_Shobhillu.pdf

Also listen to her veena recording: Dedication to her guru, Veena Dhanammal >>

Tips: (1) to automatically play all the tracks, click the play button; (2) scroll down to access the remaining tracks; (3) download the audio files, item lists and images here: https://archive.org/details/shobhillu-Saptasvara-savithri-rajan
(4) Please be patient if the page takes a little longer to load (depending on available bandwidth)

Flow | Mela practice – svara pairs

This “Flow” exercise invites learners to practice any mela (melakarta raga)
Carnatic music offers a total of 72 scales >>
About this exercise

In our present context the above exercises are meant to foster a sense of “Flow” while supplementing the Carnatic music syllabus (abhyasa ganam) attributed to 16th c. composer Purandara Dasa | More information and renditions >>

Vocalists and instrumentalists practice pairs of notes (janta svara) with the aim of increasing fluency and precision.

Janta phrases are embedded in many compositions heard in today’s concerts (notably varnam, kriti and tillana) and as part of improvised interludes (manodharma sangīta): kalpana svara and tanam as clearly heard in the following examples:

Intacalamu (varnam) – Begada – Adi

Tanam – Ghanaraga panchakam (order: Nata, Gaula, Arabhi, Sri, Varali)

Once familiar with the pattern consider practicing the first and the last melakarta ragas (mela 01 & mela 72).

Then proceed to others that are better known as “parental ragas” for their popular “offspring” (janya “derived ragas”) – notably those associated with melas 02 (Revati & Srimani), 17 (Saurashtram), 36 (Gambhiranata), 39 (Varali), 44 (Bhavani), 53 (Hamsanandi & Purvikalyani), 59 (Ranjani), 61 (Srutiranjani), or 66 (Amritavarshini).

Note: some of these mela-janya associations have been submitted to an expert commission appointed by the Music Academy Madras in view of some ambiguity or other. On similar lines, the “omission” of one or more notes from a raga’s “parental scale” may be confusing to learners as in the case of pentatonic (audava raga) Gambhiranata – today listed under mela 36 – which might as well be listed under mela 29.

“Whether the janya is the one derived from the melakarta or vice versa, the existing janaka-janya system of raga classification enhances the paramount importance of the 72 melas as technical facts defining the janyas under them.” – S. Seetha in Tanjore as a Seat of Music >>

a = middle octave (madhya sthayi)
‘sa = higher octave (tara sthayi)

Practice with basic “Sa” = G#
Download this audio file (2 MB, 2 min. mono)
Credit: eSWAR / FS-3C Sruthi petti + Tanjore Tambura
This variation invites music teachers to create their own exercises and thereby make the practice of scale practice more enjoyable for their students.
Audio | Listen to janta phrases as taught by Savithri Rajan
Savithri Rajan teaching phrases in raga Bauli (gitam)
K. Hariprasad singing the full gitam in raga Bauli
Savithri Rajan teaching phrases in raga Navaroj (gitam)
K. Hariprasad singing the full gitam in raga Navaroj

The full series is available here:
Shobhillu Saptasvara: Abhyasa gana guided by Savithri Rajan >>

Find song lyrics and information about Carnatic ragas >>

South Indian conventions (raga names & svara notation): karnATik.com | Guide >>

The above svara pattern may be sung, hummed or practiced silently with any svara variants: those you are already familiar with (e.g. raga Mayamalavagaula, mela 15, raga Dhirasankarabharanam, mela 29, raga Mecakalyani, mela 65) or any other you want to practice.

Enjoy practicing by way of gradually getting into a state of flow: deep concentration while feeling completely absorbed by an activity.

Flow | Mela practice

sa = middle octave (madhya sthayi), ‘sa = higher octave (tara sthayi)

The present “Flow” series of exercises is meant to supplement the comprehensive standard syllabus (abhyasa ganam) attributed to 
16th c. composer Purandara Dasa | Janta variations >>

Concept & images © Ludwig Pesch | Feel free to share in accordance with the 
Creative Commons Attribution-NonCommercial-ShareAlike license >>

Explore renditions of raga Mayamalavagaula, raga (Dhira)Sankarabharanam and raga (Meca)Kalyani on YouTube >>
Listen to two kritis in ragas
Simhendramadhyamam and Sankarabharanam (6th and 7th items)
sung by Bhushany Kalyanaraman >>
Find song lyrics (composers) & translations for these and other ragas >>

Become fluent with the help of svara syllables (solmisation): practice a series of exercises, each based on a set of melodic figures that lend themselves to frequent repetition (“getting into flow”) | Practice goal, choosing your vocal range & more tips >>

South Indian conventions (raga names & svara notation): karnATik.com | Guide >>

raagam: mAyAmALavagauLa
Aa: S R1 G3 M1 P D1 N3 S | Av: S N3 D1 P M1 G3 R1 S

raagam: shankaraabharaNam 
Aa: S R2 G3 M1 P D2 N3 S | Av: S N3 D2 P M1 G3 R2 S

raagam: kalyANi
Aa: S R2 G3 M2 P D2 N3 S | Av: S N3 D2 P M2 G3 R2 S

Listen to Uma Ramasubramaniam demonstrating the svaras (notes) for the present raga(s) on Raga Surabhi >>

Practice with basic “Sa” = G#
Note: this recording has no fifth note “Pa”
(as advised for those janya ragas wherein “Pa” will not be sung or played)
Download this audio file (2 MB, 2 min. mono)
Credit: eSWAR / FS-3C Sruthi petti + Tanjore Tambura

The above svara pattern may be sung, hummed or practiced silently with any svara variants: those you are already familiar with (e.g. raga Mayamalavagaula, mela 15, raga Dhirasankarabharanam, mela 29, raga Mecakalyani, mela 65) or any other you want to practice.

Once internalized you may want to contemplate and remember the same exercise with the help of the “8 x 8 beads” pattern shared here >>

Enjoy practicing by way of gradually getting into a state of flow: deep concentration while feeling completely absorbed by an activity.

And with a rich store at our fingertips in the digital age, let’s remind ourselves that there really is no such thing as a ‘learner’ raga’; a fact that sets us free to explore any raga with a sense of wonder: through joyful – active – involvement, whatever level or age group we happen to occupy!

The long-term goal is to become fluent in all the 72 melakarta ragas (including those rarely heard). In this manner it becomes easier to recognize both, melakarta and janya ragas, by distinguishing their characteristic notes even when modulated or “embellished” in accordance with classical conventions (gamaka). Their application is demonstrated in an elegant, highly instructive video (duration: 7 min.): The 13-part Sanskrit composition of Chitravina N Ravikiran. For a more detailed application, listen to Smt Kiranavali’s students at Cleveland Aradhana (Part 1) | Part 2 >>

Learn more and download a free mela-pocket guide here: Boggle Your Mind with Mela (BYMM) method – free mini course >>

For learners interested in staff notation for the above ragas and more, also check this course author’s reference work:

Find a copy of the Oxford Illustrated Companion to South Indian Classical Music